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There are moments of impossible beauty (“Owl of Love”), dense, but structured dissonance (“Adages of Cleansing”), and of course, whimsical, classically minded, indie folk (“On the Edge”), that when consumed all together, feel like a perfectly executed mash-up of Aaron Copland, Dead Can Dance, Bill Frisell, and Shirley Collins.
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They’ll soon become enraptured by what accompanies these highest-of-profile pieces: music that embraces the listener with a silken touch and seduces them with a beguiling beauty that, still, sits prettily beyond the clamour of convenient categorisation.
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MojoThis lavish song cycle, embarcing intricate choral, chamber and post-rock passages, is the feted US/Australian ensemble's first non-instrumental album. [Jul 2010, p.95]
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It won’t be everyone’s cup of tea. My Brightest Diamond’s Shara Worden sings on over half of the tracks, and her operatic voice is at times jarringly high. But it’s also soft and masterfully controlled, never distracting from the nuanced soundscapes bobbing in the background.
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Lady Walton contains the most accomplished and varied music Clogs have recorded to date.
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On Creatures, Clogs imagine a graceful space that's always worth revisiting.
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Few bands make their effort appreciated but not felt; Clogs don't squeeze the music too hard, they let it exist on its own.